They suggested that the book was illustrated by seven artists of the ‘Abd al-‘Aziz court workshop. They attributed several of the miniatures as belonging to the artist Muhammad-Muqim, judging by the stylistic features that are also present in his signed works. Later, other researchers paid attention to the imprint of significant Indian influence under which Muhammad-Muqim fell, more so than all other artists of the same school (it is indicated that he worked in Kashmir and left for Bukhara during the life of Shah Jahan, i.e. before 1666.)
The “High level of skill in building space with the use of a linear perspective, free depiction of characters from difficult angles”, bright colours, the horizontal division of space by colour into three (in some cas es, more) zones, are mentioned as features pertaining to his paintings. We can also add that the accentuation of the background zones by combining contrasting colours, as well as a wavy contour line (of often high amplitude), find analogies in the miniatures of the Samarkand “Shahnama” of Firdawsi of 1011 / 1602–1603.
You can learn more about the topic in the book-album "Arts of the book in the 15th–17th-century Mawarannahr" (Volume XVII) in the series "Cultural Legacy of Uzbekistan in the World Collections".
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